Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: The Martyrdom of St. Maurice and the Theban Legion

El Escorial. He moved frome Rome to Spain because he insulted Michelangelo's artwork in the Sistine Chapel by claiming he could do the work better. In Escorial, he portrayed the Martyrdom of St. Maurice andthe Theban Legion but he failed because of the following mistakes: 

looks like a group of friends chatting with each other 

he paints the Martydom- a group of people in a line waiting to be decapitated

the martydom is in a corner- not obvious enough

the sacrifice should be in the center

St. Maurice is in the painting twice- very medeival 

he painted nudity- forbidden in a church

HE MOVES TO TOLEDO AFTER! 

Style: Mannerism

School: Spanish

Dates: Second half of the 16th Century

Artist: El Greco

Title: El Expolio

Catedarl de Toledo

He moved to Toledo after making many mistakes in his portrayal of the Martyrdom of St. Maurice and the Theban Legion. In Toledo, he paints an amazing portrayal of the "Disrobing of Jesus" in the most important Catherdal. It was very successful, but the church refused to pay El Greco his requested 900 ducados. They church said that he did the following wrong:

• represented people above jesus, whom is supposed to be the most important
• Mary was included in the corner even though Jesus was to be naked
• he painted a man dressed in armor from the wrong time period

El Greco received 700 in the end, but the great cathedral never commissioned him again, so he ended up painting in the Santo Tomé Church in Toledo. 

Style: Mannerism

School: Spanish

Dates: Second half of the 16th c.

Artist: El Greco

Title: The Burial of the Count of Orgaz

He had made a huge mistake in the cathedral of Toledo by demanding too much money for his portrayal of the Disrobing of Christ. He was not commissioned by the cathedral again, but received work from this poor church in a small neighborhood. The church commissioned this painting which protrayed the miracle that happened in Toledo in which the body of a very good catholic duke moved straight to heaven. It was El Greco's success. After this Every monastery, church, and important family wanted paintings by him.

Style: Mannerism

School: Spanish

Dates: Second half of 16th c. 

Artist: El Greco

Title: El Caballero de la mano en su pecho

Style: Mannerism

School: Spanis

Dates: Second half of 16th c. 

Artist: El Greco

Title: Don Jerónimo de Cevallos

Style: Breach between Renaissance and Mannerism

School: Italian 

Dates: Second half of 16th c. 

Artist: El Greco

Title: The Anunciation 

Style: Mannerism (Bridge between Renaissance and Mannerism)

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: La Trinidad

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: Saint Andrew and Saint Francis

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: The Anunciation

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: The Baptism

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: The Crufixion

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: Ressurection

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: Pentecost

Style: Mannerism

School:  Spanish

Dates:Second half of the 16th c.

Artist: El Greco

Title: La Adoración de los Pastores

Style: Baroque

School:  Italian

Dates: 17th c. 

Artist: Caravaggio

Light: Tenebrism

Title: The Death of the Virgin

Style: Baroque

School:  Spanish

Dates: 17th c. 

Artist: Velazquez

Light: Tenebrism

Period: Etapa Sevillana

Title: The Waterseller of Sevilla

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: Carlos III cazador

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: La Familia de los Duques de Osuna

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: El Rey Carlos IV

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: La reina María Luisa

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: Equestrian Portrait of King Carlos IV

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: The Equestrian Portrait of Queen María Luisa

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: La familia de Carlos IV

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: La maja vestida

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: The naked maja

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: El dos de Mayo

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: El tres de Mayo

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: Saturn Devouring his Son

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: Duel with clubs

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: The dog sink

Style: Goya

School:  Spanish

Dates:  2nd half of 18th and beginning of 19th c. 

Artist: Goya

Title: La Lechera de burdeos

1. realism 
2. light: luminism and tenebrism 

they used "la gente de la calle," real models

for example: tried to show that saints existed, they were realisticall portrayed, real people on the streets

they used the paintings to represent clear and intelligibl subjects realistically portrayed to stimulate piety

they used art as a method of campaigning for the Catholic Relgion

Protestants did no believe in miracles, so they represented miracles with witnesses

Protestants do not believe in Saints, so the art represented Saints often as real people 

Protestants do not believe in the Virgin, so Mary became the one of the most important relgious figures

1. Switch from Tenebrism to Luminism. Rubens says tenebristic light is old fashioned in Europe and that Velazquez should change to illuminate his whol compostions.
2. Rubens tells Velazquez he needs to leave Spain. He needs to get out of Sevilla and Madrid to visit Italy and study art. 
3. Nobility. Nobles do not work. This is an issue for Velazquez because he is the royal painter and receives a salary. Rubens is his role model because he is an artist, but also a nobleman. 

• new lights
• new colors
• changes from tenebrism to luminism
• he adopts the idea of la curva Praxitélica

weight of the figure is resting on one foot, giving it a more dynamic, relaxed look

(rather than balanced on both legs with square hips and shoulders)